Neo-Dada is a label applied primarily to audio and visual art that has similarities in method or intent to earlier Dada artwork. It is the foundation of Fluxus, Pop Art and Nouveau réalisme.[1] Neo-Dada is exemplified by its use of modern materials, popular imagery, and absurdist contrast. It also patently denies traditional concepts of aesthetics.

The term was popularized by Barbara Rose in the 1960s and refers primarily, although not exclusively, to a group of artwork created in that and the preceding decade.

Artists linked with the term include Genpei Akasegawa, John Chamberlain, Jim Dine, Kommissar Hjuler, Jasper Johns, Yves Klein, George Maciunas, Yoko Ono, Nam June Paik, Ushio Shinohara, and Robert Rauschenberg.

See also


  1. ^ Chilvers, Ian and John Glaves-Smith. A Dictionary of Modern and Contemporary Art. Oxford University Press (2009), p. 503


  • Susan Hapgood, Neo-Dada: Redefining Art, 1958-62. Universe Books and American Federation of Arts (1994)
  • Owen Smith, Fluxus: The History of an Attitude. San Diego State University Press (1998)
  • Lynn University Art Appreciation